Part 8 (1/2)

”Ay, and a poesy: _Annulus hic n.o.bis, quod sic uterque, dabit_.”

He at once exclaims--

”... Good!

_This ring will give you what you both desire._ I'll make the whole house chant it, and the parish.”

Such rings were known as Gemel or Gimmal rings, the word being derived from the Latin _gemellus_, twins. The two making one, and though separate, indivisible, peculiarly fitted them for wedding rings. Their structure will be best understood from the very fine specimen in the Londesborough collection, Fig. 169. The ring, as closed and worn on the finger, is shown in the uppermost figure (_a_). It is set with sapphire and amethyst, the elaborate and beautiful design enriched by coloured enamels. The lower figure shows the ring parted (_b_), displaying the inscription on the flat side of each section, which is also enriched by engraving and _niello_.

Dryden, in his play of _Don Sebastian_, describes such a ring:--

”A curious artist wrought them With joints so close as not to be perceived; Yet they are both each other's counterpart.

(Her part had _Juan_ inscribed, and his had _Zaida_: You know those names were theirs), and in the midst A heart divided in two halves was placed.

Now if the rivets of those Rings inclosed Fit not each other, I have forged this lie: But if they join, we must for ever part.”

A complete ill.u.s.tration of this pa.s.sage of the poet is afforded in Fig.

170, from the same collection. It also ill.u.s.trates Dr. Nares's remark that ”Gimmal rings, though originally double, were by a further refinement made triple, or even more complicated; yet the name remained unchanged.” So Herrick:--

”Thou sent'st to me a true love knot; but I Return a ring of jimmals, to imply Thy love had one knot, mine a triple tye.”

[Ill.u.s.tration: Fig. 169.]

[Ill.u.s.tration: Fig. 170.]

This ring (Fig. 170) is shown (_a_) as it appears when closed. It parts into three hoops, secured on a small pivot, as seen (_b_); the toothed edge of the central hoop forming an ornamental centre to the hoop of the ring, and having two hearts in the middle; a hand is affixed to the side of the upper and lower hoop; the fingers slightly raised, so that when the hoops are brought together, they link in each other, and close over the hearts, securing all firmly.

A mechanical ring of still greater mystic significance is shown, Fig.

171, and is one of the most curious of the Londesborough series. The outside of the hoop is perfectly plain, and is set with a ruby and amethyst. Upon pressing these stones, a spring opens, and discovers the surface covered with magical signs and names of spirits; among them Asmodiel, Nachiel, and Zamiel occur, a similar series occupying the interior of the hoop. Such a ring might be worn without suspicion of its true import, looking simplicity itself, but fraught with unholy meaning.

It was probably constructed for some mystic philosopher, or student of the occult sciences, searching for the philosopher's stone, the elixir of life, and the power given to man to control the unseen world of spirits.

[Ill.u.s.tration: Fig. 171.]

[Ill.u.s.tration: Fig. 172.]

[Ill.u.s.tration: Fig. 173.]

We close our review of the art of ring-making in the sixteenth century with two very beautiful examples. Fig. 172, from the Londesborough collection, has a ruby in a very tall setting, enriched by enamel. The sides of the hoop are highly decorated with flowers and scroll ornament, also richly enamelled. The Waterton collection gives us Fig. 173, a gold enamelled ring, set with a large turquoise in the centre, and surrounded by six raised garnets. This ring is stated to have subsequently belonged to Frederick the Great, King of Prussia, whose cipher is upon it.

[Ill.u.s.tration: Fig. 174.]

[Ill.u.s.tration: Fig. 175.]

We must not, however, end this portion of our history without a reference to the simple, but most important, ”plain gold ring” of matrimony. It was at this time almost universally inscribed with a ”poesy” of one or two lines of rhyme. Two specimens are here engraved.

Fig. 174 is formed like the badge of the Order of the Garter, with the buckle in front, and the motto of the order outside the hoop; withinside are the words ”I'll win and wear you.” The ordinary form of ring is shown in Fig. 175, and is inscribed ”Let likinge laste.” They were invariably inscribed _withinside_ the hoop. Thus Lyly, in his ”Euphues,”

1597, addressing the ladies, hopes they will favour his work, ”writing their judgments as you do the poesies in your rings, which are always next to the finger, not to be seen of him that holdeth you by the hand, and yet known by you that wear them on your hands.” Such jingling rhymes were in great request, and exerted the ingenuity of poetasters and small wits. In 1624 a small collection of them was printed, with the quaint t.i.tle, ”Love's Garland; or poesies for rings, handkerchiefs, and gloves, and such pretty tokens that lovers send their loves.” They are generally in double, seldom in triple lines of rhyme. The Rev. R. Brooke, of Gateforth House, Selby, has presented a curious collection of such rings to the South Kensington Museum. The six following poesies are selected from this series, as they are good examples of the average inspirations of ring-poets:--

”Seithe G.o.d hath wrought this choice in thee, So frame thyselfe to comfourth mee.”